Henrik Bull

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Henrik Bull

Application of the ancient Nordic motifs in the ornamentation of the Historical Museum and their stylization according to

Art Nouveau principles

Natalia Evseeva

Master Thesis in History of Art Tutor: Lena Liepe

Department of Philosophy, Classics, History of Art and Ideas Faculty of Humanities

UNIVERSITY OF OSLO

Autumn, 2011

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Summary

The use of the vernacular motifs in Art Nouveau architecture is recognized as a characteristic feature of national variants of the movement. Though the process of transformation of a historical motif – what particular manipulations the architect conducts over it – and its representation in Art Nouveau style is not given much consideration. This became the major sphere of my interest and research.

The main subject of the master thesis is the application by Henrik Bull of the ancient Nordic motifs in the ornamentation of the Historical Museum in Oslo. All art historians writing about Bull and one of his major projects – the Historical Museum, underline his talents of a form-giver and admit the fact of the use of the ancient Nordic motifs as sources for his ornamental designs. Little attention is given, however, to the process of creation of new patterns by Bull from the ancient Nordic motifs. The main objective of my thesis is not the identification of the sources the architect uses, but a hypothetical reconstruction of the process of the transformation of the original sources. The process of Bull’s work with the ornamentation in the Historical Museum is interpreted within the concept “decorative stylization” and its formal principles. As mythology I use the theory of stylization as a form- formation principle by Professor of St. Petersburg State University Victor G. Vlasov.

I consider that in the reference to the ancient Nordic motifs Bull applies the principles of decorative stylization. In order to define the field of research I outline the three hypothetical groups of sources and discuss the possibility of the reference to them by the architect. In order to investigate the form-formation principle of Bull’s work, I select a number of ornamental patterns from the Historical Museum and analyse what principles of decorative stylization the architect applies in the process of transformation of the motif from the hypothetical sources through transitional variants, represented either in Bull’s earlier works or in the unrealised drawings or sketches of the Historical Museum, to the final realised variants in the interiors of the Historical Museum. The analysis of the separate ornamental patterns proves the use by the architect of the ancient motifs as sources for inspiration;

allows to speak about certain laws and principles in Bull’s method of work with the sources, as well as shows general inconsistence in his reference to the sources. In the master thesis I come to a conclusion that in stylizing the historical motifs Bull moves from naturalistic

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representation and quotation of the motifs in his early works to such principles of stylization as abstraction and geometrization realised in the Historical Museum. Bull’s method in the reference to the historical sources reflects the aesthetic ideas of the time, expressed in the thesis by the ideas of Christopher Dresser, proposing instead of imitation to render the motifs in their conventional forms which could be best represented through abstraction and

geometrization.

Apart from the stylization of the motifs represented in different ornamental patterns, another question raised in the thesis is whether one can consider Historical Museum a building where the architect achieves integrity of the parts and the whole through the application of an integrated stylization. The use of similar motifs, forms, principles of stylizations both in the interiors and the exterior, as well as the use of similar forms in the ornamentation and architectural elements allows to speak about the integrated stylization of the Historical Museum building.

The analysis of the ornamental patterns in the Historical Museum and their comparison with similar works by representatives of the European Art Nouveau confirm that the principles, realised by Bull in the ornamentation of the Historical Museum, lie within the stylistic frames of Art Nouveau. Placed in a similar context, Bull’s work can be characterised as authentic, self-contained and independent. The stylized patterns in the Historical Museum as well as their integrity with each other and the whole building is a result of a skilful

stylization which in its turn leads to a creation of a style – Art Nouveau.

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Forword

I wish to acknowledge with gratitude the help and advice of many specialists and scholars.

First and foremost I thank my tutor Professor Lena Liepe, for her valuable help, support and advice during all the stages of working over the thesis. I thank Lena for her diligence, kindness, patience, responsibility and conscience in her work with students. Through all the stages of writing the thesis I felt Lena’s constant support and supervision: she was always available, gave immediate answers and provided profound comments to the sections of the texts I sent to her pointing out the ways in which it could be improved.

I want also to thank my first tutor, Espen Johnsen, who orientated me in the subject during the first phase of the work over the thesis: recommended literature and specialists to consult.

I would like to express my deep gratitude to Dag Myklebust who kindly introduced me to the theme of Norwegian Art Nouveau and advised me the subject for the master thesis as well as provided me with practical information in the sphere of the research.

I want to say thank you to my former Russian teacher from St. Petersburg State University, Professor Victor G. Vlasov, for advising me the direction in which I could conduct the research and methodology. I met with Vlasov several times during the work over the thesis for discussing the methodological aspects of work.

In the process of writing the thesis I have benefited immensely from the help and advice of Norwegian scholars who were very kind to me, expressed willingness to meet and

generously shared their knowledge and ideas: first of all, Professor Signe Horn Fuglesang, who met me with much enthusiasm and has taken the pains to read through and edit the major section of the manuscript; Professor Erla Bergendahl Hohler, Professor Einar Østmo, Professor Heid Gjøstein Resi, Dr. Philos/DPhil Oxon Widar Halén, Professor Mona Bramer Solhaug. I benefited greatly from long conversations with them. It was the most valuable experience to hear their opinion on the subject, which gave me a much deeper insight into the sphere of the research. Any errors of fact or interpretation, which can be found in the text, are my own.

I am very much indebted to the specialists from the University Museum of Cultural History:

Per Bjørn Rekdal for showing me around the Historical Museum as well as sharing his personal memories and emotions; Marianne Vedeler for providing me the information about

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the acquisition of the specific artefacts by the museum; Toril Mugaas, as well as the staff of the photo archive of the Historical Museum and of the libraries, in particular, Nora

Schjoldager at Archaeological library of the University of Oslo. I am extremely thankful for the time they spared and the warmth they expressed towards me.

I want also to express my gratitude to the staff of the archives, in particular Bente Aass Solbakken at Architectural collection – National Museum, and Torborg E. Strand at the Riksantikvaren’s archive. I am very thankful to many other specialists with whom I kept correspondence or met personally and who provided me additional information about Bull and his works: Axel Mykleby, Bengt Lifoss, Bjørn Vidar Johansen, Bibi Plahte Vance, Wenche Volle, Egil Klevgård.

I also want to thank the staff of the Jugend centre in Ålesund for providing me the

information and showing around the museum; as well as Andreas Lehre from Federal Office for the Protection of Monuments in Vienna and Dr. Rainald Franz at Austrian Museum of Applied Arts for orientation and consultations about the Vienna Secession Architecture.

I owe special appreciation to my friend, Cathrine Tangen, for her encouragement, assistance, advice and editing of the separate sections of the thesis. Finally, I want to thank my husband, Jan Eriksen, for providing support and insight at every stage of working over the thesis, proof-reading of the text and solving computer issues.

Photo acknowledgement:

I want to thank the Institutions, which permitted to use the photos of the drawings by H.

Bull: National Museum – Architecture, Oslo: photos of the drawings with a register number NAMT.hbu; Riksantikvaren archive: Figs. 8, 19; as well as Norwegian Folk Museum, Oslo for permission to use photos of the Furniture set of 1896: Figs. 5, 33, 55, 76.

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1. Introduction

The use of vernacular motifs in Art Nouveau ornamentation is recognized by many art historians as a defining principle of the national variants in the international movement of Art Nouveau (Paul Greenhalgh, Jeremy Howard, Stephan Tschudi-Madsen).¹ “Decorative ornamentation based on ancient and medieval patterns and motifs and of folk art and vernacular architecture”is one of the traits of Art Nouveau, included into its definition published in the Torino declaration of the Preservation of the Art Nouveau Architecture.² The mechanism of a transformation of historical motifs into characteristic Art Nouveau traits is not given any particular attention. Traditionally in the literature on Art Nouveau

ornamentation emphasis is put on its characteristic features, but not on the process of the transformation of the historical motifs and principles applied to them.

This master thesis is an attempt to give a thorough analysis of Henrik Bull’s work with the historical motifs in the ornamentation of the Historical Museum: to outline the hypothetical sources as well as to reveal the mechanism and principles, which the architect applies in his reference to the motifs from bronze-, iron-age, Viking and Romanesque art – ancient Nordic motifs – in the ornamentation of the Historical Museum. Thus, an investigation of Bull’s application of the ancient Nordic motifs in the decoration of the Historical Museum constitutes the major subject of the research.

The objective of the thesis is to analyse Bull’s method of working with historical motifs/sources. In order to realise the objective the following needs to be done:

1. To investigate the question of the hypothetical sources used by the architect;

2. To define the principles of stylization applied by the architect to the sources and to show the level of the integrity of the stylized patterns with the architecture of the building;

3. To prove the correspondence of Bull’s work with the principles of Art Nouveau.

1 Paul Greenhalgh, Essential Art Nouveau (London: V & A Publications, 2000); Jeremy Howard, Art Nouveau:

International and National Styles in Europe (Manchester: Manchester University Press, 1996); Stephan Tschudi-Madsen, Art Nouveau (London: Weidenfeld and Nicolson, 1967).

2 Art Nouveau in Europe Today: a General Appraisal, Dominique Bauthier, ed. (Brussels: Réseau Art Nouveau Network, 2000).

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Additional questions which might be answered during the work over the thesis are:

1. Is there a correspondence between the collection of a particular exhibition hall and its ornamentation?

2. How Bull’s work with the historical motifs correlates with the aesthetics of the time which in the master thesis is expressed by the ideas of Christopher Dresser?

The argument of the thesis is founded on the presumption that Bull made conscious use of the ancient Nordic ornamentation for the Historical Museum. The mechanism of the application of the historical motifs and forms in general is described with reference to a set of principles of stylization, leading to the identification of Bull’s application of ancient Nordic motifs as the outcome of a process here designated with the term “decorative stylization.”

1.1 The concept “stylization” and its use in Western and Russian scholarship

In Mayer’s The Dictionary of Art Terms and Techniques, “stylization” is defined as follows:

Stylization is a representation of natural forms more in accordance with artistic ideals or conventions than with observation of individual examples of these forms. […] Suppression of individual difference often involves intentional distortion of natural forms when universal characteristics are emphasised through exaggeration.

- Ralph Mayer, A Dictionary of Art Terms and Techniques (London: Adam and Charles Black, 1969), 383–384.

According to Widar Halén, who has studied in particular the history of design of the late 19^th – early 20^th centuries, the concept “stylization” in respect to Art Nouveau has its roots in the 1840s debates in England about what kind of ornamentation should be used and how to use it. In opposition to John Ruskin (1819–1900) and Augustus Welbye N. Pugin (1812–1852), who proclaimed that neo-gothic forms and naturalism were the most appropriate models for English Christian architecture, Owen Jones (1809–1874) and Christopher Dresser (1834–

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1904) pioneered a new style with stylized and abstract ornaments.³ Jones’ ideas about new decorative art were further developed by Dresser in his first publications The Art of

Decorative Design (1862) and Principles of Decorative Design (1873). Regarding the reference to historical ornaments Dresser writes:

Let not the ornament be a mere servile imitation of what has gone before, but let the designer study the ornament of bygone ages till he understands and feels its spirit, and then let him strive to produce new forms and new combinations in the spirit of the ornament of the past.

- Christopher Dresser, Principles of Decorative Design (London: Academy Editions, 1973), 74.

Halén in the monograph Christopher Dresser: a pioneer of modern design (1993), based on his doctoral thesis “Christopher Dresser and the Cult of Japan” (1988) writes that, opposing to naturalistic ornament and imitation, Dresser offers to express morphological laws of the organic models in a conventional form. The conventional or stylized forms, according to Dresser, could be represented best through abstraction and geometrization.⁴ As Halén states, it was not the natural model itself that was of primary importance to Dresser, but the laws which he abstracted from this model.⁵ Dresser considered that allegorical symbolism which was popular in Victorian time could be expressed best in abstract forms as this will personify the thoughts of the time and lead to a new style.⁶ In this, as Halén points out, he envisaged the ideas which at the end of the 19^th century brought to a creation of a new style – Art Nouveau.⁷ These ideas were also cultivated in Scandinavia.⁸ In Norway they blended together with strong national impulses. Similar ideas of the new art and new approach towards the use of the historical motifs were expressed by local art historians and artists.

Among the most active proponents of the revival of the national crafts, were art historian Andreas Aubert (1851–1913), and artist, designer and theorist Gerhard Munthe (1849–1929).

As Tone Skedsmo in the article “Kunst for alle, kunst i alt” (1994), writes, Munthe in his

3 Widar Halén, Dr. Philos/DPhil Oxon, Director, Design and Decorative Arts at National Museum of Art, Architecture and Design, Oslo, interview by the author, 3 May 2011.

4 Halén, Christopher Dresser: a pioneer of modern design (London: Phaidon, 1993), 25.

5 Halén, Christopher Dresser: a pioneer of modern design, 25.

6 Halén, Christopher Dresser: a pioneer of modern design, 26.

7 Halén, interview by the author, 3 May 2011.

8 Halén, interview by the author, 3 May 2011.

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opposition to imitation and contemporary “dragon style” considered that the artist should create his personal style out of his own ideas.⁹ For Munthe there was a direct connection between the decorative and the national.¹⁰ The national historical motifs, according to Munthe, should be represented decoratively.¹¹ His ideas are best illustrated by his art of the late 19^th century, in which, as Halén points out in the article “The Fairytale World of Gerhard Munthe,” Munthe moves away from naturalism to abstraction and stylization.¹² In the

watercolours of 1893, based on Norwegian folktales, the decorativeness is provided through the flat, geometrical representation of the old Norwegian themes.

The concept “stylization” in Art History in respect to ornamentation is used to define its two aspects: one presupposes the created stylized form, the result; the other – the process. The first one, as defined above, is a conventional representation of an element, which refers to a newly created stylized form. Any form which is represented more or less differently from the natural prototype is called stylized. In the reference to the Art Nouveau stylized forms, as a rule, scholars imply characteristic floating, curvilinear lines, so-called “Art Nouveau line.”

The second meaning of the term refers to a process of the transformation of the motif into a stylized one – the form-formation principle. Stylization as a form-formation principle will constitute the field of the research of the thesis. As my master thesis represents an attempt to interpret Bull’s work within the frames of the form-formation principle – stylization, I need to give a thorough explanation of this ambiguous concept as well as explain how I will use it in my work.

In the western scholarship stylization as a form-formation process is not particularly

considered. Tschudi-Madsen distinguishes four principle forms of Art Nouveau: abstract and structural symbolical Art Nouveau (French-Belgian variant), floral and organic (most

characteristic for Nancy School), linear two-dimentional and symbolical (Glasgow school), constructive and geometrical (represented by Austrian and German variant of Art

Nouveau).¹³ Though Tschudi-Madsen does not call it stylization, this classification, in my

9 Tone Skedsmo, “Kunst for alle, Kunst I alt”, in Tradisjon og fornyelse: Norge rundt århundreskiftet, red.

Tone Skedsmo, Alfsen Glenny, Exhibition catalogue (Oslo: Nasjonalgalleriet, 1994), 10.

10 Skedsmo, “Kunst for alle, Kunst I alt”, 10.

11 Skedsmo, “Kunst for alle, Kunst I alt”, 10.

12 Widar Halén, “The Fairytale World of Gerhard Munthe,” Réseau Art Nouveau Network.

http://www.artnouveau-net.eu/LinkClick.aspx?fileticket=AEZIjzxhVxA%3D&tabid=204, 3 October 2011.

13 Tschudi-Madsen, Art Nouveau, 16–21.

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understanding, presupposes different types of transformation of the motifs, included into the concept “stylization”.

The Norwegian scholars in the research of Bull’s works do not use the terms “stylization” or

“stylizer.” In the reference to Bull’s work, art historians underline his versatility and a talent of a “form-giver”/”designer.”¹⁴ I consider that the terms “stylization” and “design” are very close, however, “stylization” as a form-formation principle always presupposes a reference to the other historical style, or naturalistic representation; while “design” is a category of a wider range and can include in itself stylization as well as other methods of form formation.

Russian art historians writing about Art Nouveau specify that stylization is one of the main principles of form formation in Art Nouveau together with such principles as synthesis of arts, total work of art (Gesamkunstverk), vitalism, tendency towards mutual interpenetration, interchange and mutual imitation of different arts.¹⁵ However, often the mechanism of its work is not revealed at all but represented rather vaguely or ambiguously. Sometimes art historians use the term with reference to one specific type of stylization only. Thus, Evgenia Kirichenko considers such a variant of stylization which allows to borrow forms and

principles of a historical style, so-called “historical stylization.” She distinguishes between the stylization of eclecticism built on mechanical transformation of the traits of a historical style, and the stylization of “Art Nouveau” which, though through the reference to the historical styles, presupposes creative transformation and interpretation of it in the formal language of Art Nouveau.¹⁶ Maria Nastshokina supports this idea and exemplifies it in the analysis of Moscow Art Nouveau, in stylization of which the characteristic features of a historical style are interpreted with the use of exaggeration, grotesque and irony.¹⁷ Dmitriy Sarabianov generalises the concept “stylization” for Art Nouveau and distinguishes between

14 Thomas Thiis-Evensen, “Henrik Bull: arkitekt og formgiver,” Norsk arkitekturmuseums skrifter, no. 1, (1975): 4; Tschudi-Madsen, Henrik Bull (Oslo: Universitetsforlaget, 1983), 24.

15Dmitrij V. Sarabjanov, Modern: Istoria stilya (Modern: the History of the Style), (Moscow: Galart, 2001), 267–299.

16 Evgenia I. Kirichenko, Russkaya arkhitektura 1830–1910-x godov. Stilizatsia – princip formoobrazovania v Moderne (Russian architecture of 1830–1910. Stylization – principle of form formation in Modern) (Moscow:

Iskusstvo, 1978), 204–209.

17 Maria Nastshokina, Andrej Erofeev, “National and Regional Features of Russian Architecture in the Style of the Modern,” in Art Nouveau/Jugendstil Architecture in Europe (Bonn: German Commission for UNESCO, 1988), 170.

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its two variations: the historical and the stylization of the natural organic forms and representation of them in the characteristic Art Nouveau forms.¹⁸

Victor G. Vlasov, Professor in Art History at St. Petersburg University, in the article

“Stylization” in the Encyclopedic Dictionary of Fine Arts, 2008, in my opinion, gives the most well-founded interpretation of the concept “stylization” in art history as well as reveals the principles and methods of stylization.¹⁹ According to Vlasov, in art history one can speak of a historical and a decorative stylization.²⁰ The historical stylization implies an intentional use of the forms, principles and methods of the form formation by an artist, once already created and used in the art history. For a successful realisation of such a stylization a

historical distance between the model and the stylization is required. Otherwise, an artist has a risk of creating a replication, a repetition of the original with minor changes in details. All neo-styles of the second part of the 19^th century can be called historical stylizations, which became a principal category of the form formation in the époque of Historicism. In its

essence historical stylization is impersonal and retrospective: the artist is mentally transferred to a chosen historical period and is limited in his individual creativity.²¹

In the decorative stylization the artist’s intention is to become an organic part of the existential environment of his époque. The decorativeness as a quality, which appears as a result of the artist’s wish to include his work into the environment, allows to call this method

“decorative stylization.”²² The decorative stylization to a higher or lower degree is

characteristic to different historical styles, however, the field of the research of this master thesis is stylization principles of Art Nouveau. The use of curved elongated lines or

geometric forms – circles and squares can be considered examples of decorative stylization in Art Nouveau.²³

18 Sarabjanov, Modern: the History of the Style, 296.

19 Victor G. Vlasov, Novyj Enziklopedicheskij slovar izobrazitelnogo iskusstva: v 10 tomax (New Encyclopedic Dictionary of the Fine Arts, 10 vols.) (St. Petersburg: Azbuka, 2009), 9: 251–259, s. v. “стилизация.”

20 Vlasov, New Encyclopedic Dictionary of the Fine Arts, 252.

23 Vlasov, New Encyclopedic Dictionary of the Fine Arts, 252

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Vlasov also singles out two levels of stylization: a stylization of a single element or a motif and an integrated stylization of an architectural ensemble.²⁴

The stylization of the single element presupposes a transformation of a particular element into a new form by the use of different principles of stylization.²⁵ When the artist modifies a prototype and gives it a new form, he applies a general method of abstraction, which can be realised through the application of the different “technical” principles such as

geometrization, fragmentation, quotation, or combinatory principles. By applying the different technical principles of stylization, the artist can achieve different levels of

abstraction: from slight changes of a naturalistic form to a complete geometric abstraction.²⁶ The integrated stylization of a particular ensemble presupposes the integrity of the form formation: realisation of the common principle or a choice of a common, all-pervading motif as a form-formation material. In Art Nouveau a sinuous floating line is often used as the all- pervading linear motif. ²⁷

1.2 The analytic procedure

As methodology for the master thesis, I will use the above mentioned article “Stylization,” as well as material from private consultations with Vlasov.²⁸ First, I will choose a selection of the ornamental patterns from the interiors of the Historical Museum, which, in my opinion, constitute the most representative and various ornamental patterns and samples of decorative stylization, hypothetically developed from the ancient Nordic motifs. Then I will analyse each pattern and define the stylization principles applied to them (stylization of the motifs).

In the analysis of each particular motif I will try to reconstruct possible historical sources to which the architect refers (objects of stylization) and to trace the gradual development of the

24 Vlasov, interview by the author, St. Petersburg University, 18 December 2008.

25 Vlasov, interview by the author, St. Petersburg University, 24 November 2010.

26 Vlasov, interview by the author, St. Petersburg University, 24 November 2010.

27 Vlasov, New Enthyclopedic Dictionary of the Fine Arts, 252.

28 Victor Vlasov was one of my teachers at St. Petersburg State University in the period of 2001–2007. His courses “Decorative and Applied Arts”, “Styles in Art”, “Russian and Western European Architecture” in many way influenced me and formulated my point of view and interpretation of many aspects raised in these courses.

Among them are the aspects analysed in this master thesis. It was Vlasov who advised me to analyse Bull’s work with the historical motifs in the light of stylization and its principles, which was discussed in the following consultations 18 December 2008, 24 November 2010, 1 December 2010, 18 June 2011.

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motifs from the sources to the patterns in the museum. After that, I will analyse to what extent, the architect achieves integrity/overall unity of stylization in the Historical Museum building. As it was agreed with Vlasov, that there exists no universal scheme suitable for all individual variants of stylization, and as one of the tasks of the thesis is to define the

methods of stylization used by a particular architect, in my work I will move from the analysis of each pattern to definitions of the principles of stylization applied by Bull in the specified patterns.

The core of the work (Chapter 5. Stylization of the motifs) represents a formal comparative analysis. I analyse separately the motifs of each of the chosen patterns. In order to define the hypothetical source which Bull might have used as an object of stylization, I compare the motifs and forms of the patterns with the ancient Nordic samples, which were hypothetically familiar to Bull: artefacts from the collection of the museum or from contemporary

publications. In order to identify the motifs and trace their development, I compare the forms and motifs in the analysed patterns with similar ones in Bull’s earlier and later works. This comparison helps not only to identify the motifs, but also to trace the levels of abstraction of the same motifs in different works. The analysis of the creation of certain patterns is built (where possible) on a hypothetical reconstruction of the stages of the development of the new patterns out of the historical ones. Unrealised drawings, sketches of the patterns for the Historical Museum, or similar motifs in the earlier works I regard as transitional variants for the final variants realised in the museum. This comparison gives me an understanding of Bull’s work with the sources and the principles of stylization he applies. In the analysis of each pattern I give either stylistic parallels from European Art Nouveau, mostly the Viennese variant, or indicate the characteristic Art Nouveau principles in these patterns. Secondly (Chapter 6 – Integrated stylization), by comparing architectonic and ornamental details of the building, I analyse the level of integrity of the stylized motifs and forms with the

architectural ensemble, and discuss to what extent the stylized motifs are interconnected, as well as connected with the architectural forms, how they stylistically blend together and produce a stylized integrated unity.

The work is organised in the following way. In chapter 2 I start with an overview of Bull’s professional carrier with a focus on his architectural projects of the late 19^th – early 20^th century, the period characterised by the use of ancient Nordic motifs and Art Nouveau influences and an obvious fusion of both. In this chapter I also give a chronological survey of

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Bull’s works, and analyse the development of the treatment of the ornamentation based on ancient Nordic motifs. Such a chronological survey is necessary, in my opinion, as it will help me in the analysis of the ornamentation in the Historical Museum, which to a large extent will be built on the comparison with his earlier and later projects. In Chapter 3 I give a detailed description of the building of the Historical Museum and its reception with a

particular focus on ornamentation and its evaluation. In Chapter 4 I classify the hypothetical sources of the ornamental patterns in the Historical Museum, determining by this the circle of ancient Nordic motifs, with reference to which my research will be conducted. Chapter 5 represents the analysis of a selection of ornamental patterns. In Chapter 6 I analyse to what degree Bull achieves integrity between the different ornamental patterns and the whole building. In Chapter 7 I give an outline of the general tendency of the use of the national motifs in Art Nouveau ornamentation as well as compare Bull’s patterns with the ones by other European masters.

1.3 Sources and literature

The main source for my master thesis is Bull’s drawings of the Historical Museum as well as the drawings of his other projects from the period of 1896–1907. The major part of the drawings, including the drawings of the Historical Museum, has been located in the Architectural collection of the National Museum, Oslo, from its foundation in 1975, when they were transferred from the National Association of Norwegian architects (NAL).²⁹ These drawings together with Bull’s correspondence and photo material represent a considerable part of his personal archive, which on the initiative of Professor Christian Norberg-Schulz were handed over from Bull’s heirs.³⁰ I also used Bull’s drawings from the Riksantikvaren’s Archive, which has a collection of Bull’s drawings of the measured stave churches, as well as several drawings of the equipment for the international exhibitions in the period of 1900 –

29Bente Aass Solbakken, curator, the National Museum – Architecture, Oslo, in interview to the author 5 October 2011.

30 Svein Jørgensen, Chairman of the Board for the National Museum of Architecture (in 1975), in Introduction to Thomas Thiis-Evensen, “Henrik Bull: arkitekt og formgiver,” Norsk arkitekturmuseums skrifter no. 1, (1975): 3.

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1906.³¹ The drawings, in my opinion, represent a very good material for realising the method of my work. In many cases they give an opportunity to look into the process of the

development of the new forms and patterns. Apart from the drawings, I used contemporary photos of the museum interiors by Anders Beer Wilse, located at the National library on-line Photo Archive, as well as photos from the Photo Archive of the Historical Museum.

In the description of Bull’s biography and in particular his years of studies I used the information provided by Bull personally in the Application for study travel, 27 April, 1891, located in the Riksantikvaren Antikvarisk Archive.

The next group of sources is represented by Old Norse and early Romanesque artefacts from the collection of the Historical Museum. In the thesis I mostly compare Bull’s patterns with those artefacts in the museum, which were acquired before the construction of the new building. Thus, in comparing Bull’s ornamentation with relevant ornamentation of stave church portals, I refer mostly to the portals from those stave churches from the exposition which were acquired before the museum was built: Atrå church portal (1842), Sauland (1862), Fåberg (1862), Ål (1881).³²

As the analysis is built on the comparison of Bull’s patterns with hypothetical sources, the third group is represented by the hypothetical sources – the publications and catalogues of the archaeological findings of late 19^th – early 20^th century – those which Bull hypothetically could have been familiar with. Among such publications: Oluf Rygh, Norske Oldsager (1885), Sophus Müller, Vor Oldtid: Danmarks forhistoriske Archæologi (1897), Ordning af Danmarks oldsager (1888–95), Lorentz Dietrichson, De norske stavkirker: studier over deres system, oprindelse og historiske udvikling: et bidrag til Norges middelalderske

bygningskunsts historie (1892), Nicolay Nikolaysen, Langskibet fra Gokstad ved Sandefjord (1882), Yngvar Nielsen, Universitetets ethnografiske samlinger 1857–1907 (1907), Annual Journal of the Society for Preservation of Norwegian Ancient Monuments (Aarsberetninger:

Norske fortidsminnesmerkers Bevaring) (for the period of 1880–1904). In several cases, as the task of the work is not to identify the exact objects Bull used for inspiration, but to give a

31 The file with the drawings of the exhibitions’ equipment may have been given to Tschudi-Madsen in

connections with the writing of the monograph about Bull. This fact, however, is not documented in the archive.

It is reasonable to believe, though, that the heirs of H. Bull donated the drawings to Riksantikvaren sometime after 1953. (Torborg E. Strand, Archive Section, Riksantikvaren, in e-mail to the author 30 September 2011).

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comparative analysis of the formal principles applied in the hypothetical historical source and Bull’s stylized patterns, I compare Bull’s patterns with the patterns from the objects of the later acquisitions or publications. These patterns, nevertheless, are typical, repeated from object to object, that is why they, possibly, could have been familiar to Bull from earlier sources.

The fourth group of sources is consultations with the specialists: Dag Myklebust, Senior Adviser on International Affairs at the Norwegian Directorate for Cultural Heritage (Riksantikvaren); Erla Bergendahl Hohler, Professor, Archaeological department of the University Museum of Cultural History, Oslo; Signe Horn Fuglesang, Professor, Institute of Cultural Studies and Oriental Languages, University of Oslo; Einar Østmo, Professor, Archaeological department of the University Museum of Cultural History, Oslo; Widar Halén, Director of the Design and Decorative Arts at National Museum of Art, Architecture and Design, Oslo; Marianne Vedeler, scientist, Archaeological section of the University Museum of Cultural History, Oslo; as well as the relevant literature on the subjects: Erla B.

Hohler, Norwegian Stave Church Sculpture (1999), David M. Wilson, Ole Klindt-Jensen, Viking Art (1980), Signe Fuglesang, “Vikingtidens kunst” (1981).

Henrik Bull is the architect about whom a considerable amount of research has been conducted. Most of the Norwegian art historians, specialising in Art Nouveau – Stephan Tschudi-Madsen, Jan-Lauritz Opstad, Dag Myklebust, Trond Indahl – agree, that Bull is the major representative of the Norwegian variant of Art Nouveau.³³ Bull is also recognized on the international level as the architect, who together with Gerhard Munthe and Lars

Kinsarvik, created a national version of the new style.³⁴ One monograph by Tschudi-Madsen Henrik Bull (1983), as well as a considerable number of articles have been published, which mostly single out Bull’s major architectural projects, among which the National Theatre, the

32 Erla Bergendahl Hohler, Norwegian Stave Church Sculpture (Oslo: Scandinavian University Press, 1999).

33 Stephan Tschudi-Madsen, Henrik Bull (Oslo: Universitetsforlaget, 1983), 61; Tschudi-Madsen, “Veien hjem:

Norsk arkitektur 1870–1914,” In Norges Kunsthistorie, ed. Knut Berg, 7 vols., 5: 82–85. Oslo: Gyldendal Norsk Forlag, 1981; Dag Myklebust, “Jugendstyle architecture in Norway” in Art Nouveau/ Jugendstil Architecture in Europe, ed. Hans-Dieter Dyroff, 152; Jan-Lauritz Opstad, Norsk Art Nouveau (Oslo: Huitfeldt, 2000), 19; Trond Indahl “Slyng og stein. Arkitektur i Trondheim 1900–1914,” Foreningen til norske

Fortidsminnesmerkers Bevaring, Årbok 1984 (1984): 53.

34 Greenhalgh, “The Creation of Meaning,” in Art Nouveau 1890–1914, Greenhalgh, Paul, ed. (New York:

Harry N. Abraams, Inc., Publishers, 2000), 52.

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Historical Museum and the Old Government Building, are given a particular attention. These articles will be discussed below in connection with the major subject of the master thesis. In addition to it, several publications are partly or completely dedicated to Bull’s work in the sphere of applied arts.³⁵

One of the first art historians writing about Bull was Tschudi-Madsen whose doctoral thesis Sources of Art Nouveau (1956), is considered one of the classical works on the style.³⁶ In 1952 Tschudi-Madsen in the article “Dragestilen: Honnør til en Hånet stil,” in which he singles out three phases of the development of the “dragon style,” locates the Historical Museum within the second phase of 1900 –1910, characterised by the fusion of the European Art Nouveau and national “dragon style.”³⁷ Tschudi-Madsen refers to a peculiar combination of the “dragon style” and “Jugend-like” motifs which can be seen throughout the museum.³⁸ By pointing out that it is only in the balustrade of the main staircase that the “dragon-style”

motifs are represented directly, not in a disguised form,³⁹ Tschudi-Madsen implies that the ornamental patterns in the Historical Museum have different levels of connection with their historical sources. The author does not, though, approve the choice of the location of the motif as it produces an impression of being squeezed into the balustrade.⁴⁰

In the article “Uedle metaller i edlere form” (1958), dedicated to the decorative

representation of the metalworks, Tschudi-Madsen points to a fanciful symbiosis of the

“dragon style” and Art Nouveau in the metalwork details of the Historical Museum.⁴¹ In this article the author writes about German tendencies in the design of the ornamental forms of the metal lattice in the Coin cabinet, such as sharpened and thickened ends of the metal

35 Anne-Berit, Skaug, Møblene på Kristiania Håndverks- og Industriforeningens Lotteriutstillinger, 1895–

1914. Hovedoppgave i kunsthistorie (Oslo: Universitetet i Oslo, 1977); Eline Rostock Rødseth, Gullsmedfirma N. M. Thunes korpusarbeider 1857–1916, Hovedoppgave i kunsthistorie (Oslo: Universitetet i Oslo, 1999);

Bengt Lifoss, Henrik Bulls formgivning av lysarmatur: en undersøkelse av de elektriske lampene i Nasjonaltheatret, Historisk Museum og Regjeringsbygningen. Hovedoppgave i kunsthistorie (Oslo:

Universitetet i Oslo, 2003).

36 Stephan Tschudi-Madsen, Sources of Art Nouveau (Oslo: H. Aschehoug & Co., 1956).

37 Stephan Tschudi-Madsen, “Dragestilen: Honnør til en Hånet stil,” in Vestlandiske kunstindustrimuseums Årbok, 1949–50. Bergen, (1952): 48–50.

38 Tschudi-Madsen, “Dragestilen: Honnør til en Hånet stil,” 49–50.

39 Tschudi-Madsen, “Dragestilen: Honnør til en Hånet stil,” 49.

40 Tschudi-Madsen, “Dragestilen: Honnør til en Hånet stil,” 49.

41 Tschudi-Madsen, “Uedle metaller i edlere form,” Nordenfjeldske Kunstindustrimuseums årbok 1957, Trondheim, (1958): 48.

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panels.⁴² It is important to underline, with the reference to my research, that Tschudi-Madsen points to possible national sources of inspiration for Bull. For example, he sees elements of the Urnes style in the metal lattice on the entrance door of the Historical Museum.⁴³

Christian Norberg-Schulz in the article “Henrik Bull” (1966) singles out such characteristic features present in Bull’s projects as plastic modelling and integration of the details with the whole.⁴⁴ According to Norberg-Schulz, in the interiors of the Historical Museum the

integrity is achieved through the effect of continuity in the treatment of the walls. In the exteriors the rounded corners and the application of the same materials allow to include the projections into the whole.⁴⁵ Norberg-Schulz indicates, that in the Historical Museum building one can see the features of Art Nouveau in the treatment of the lines in the

ornamental panels, while in the structure and the use of glass Art Nouveau principles are not realised.⁴⁶

Thomas Thiis-Evensen in the article “Henrik Bull: arkitekt og formgiver” (1975), gives a detailed analysis of several of Bull’s architectural projects, including works in neoclassicism of 1917.⁴⁷ In the description of the Historical Museum the author asserts that the main principle realised by Bull in the building of the Historical Museum is the principle of contrast of the massive in the main volume of the building and rounded corners with linear and light in the design of details and colour of the façade walls.⁴⁸ The author gives a high estimation of Bull’s talent of a “form-giver” and especially points to Bull’s peculiar attention to the design of details and their importance for the whole project.⁴⁹

A high estimation of Bull as architect and designer is given by Tschudi-Madsen in the monograph Henrik Bull (1983).⁵⁰ The author analyses several of Bull’s projects of late 19^th – early 20^th century. The Historical Museum is defined as a genius work in Norwegian

42 Tschudi-Madsen, “Uedle metaller i edlere form,” 48.

43 Tschudi-Madsen, “Uedle metaller i edlere form,” 48.

44 Christian Norberg-Schulz “Henrik Bull” Byggekunst, no. 3 (1966): 70.

45 Norberg-Schulz “Henrik Bull,” 70.

46 Norberg-Schulz “Henrik Bull,” 70.

47 Thomas Thiis-Evensen, “Henrik Bull: arkitekt og formgiver,” Norsk arkitekturmuseums skrifter, no. 1, (1975): 4–20.

48 Thomas Thiis-Evensen, “Henrik Bull: arkitekt og formgiver,” 14.

49 Thomas Thiis-Evensen, “Henrik Bull: arkitekt og formgiver,” 4.

50 Tschudi-Madsen, Henrik Bull (Oslo: Universitetsforlaget, 1983).

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architecture.⁵¹ Tschudi-Madsen sees different European influences in it: architecture of Charles Harrison Townsend, as well as a fusion of Austrian influences, “dragon style” motifs and Belgian windings in the details.⁵² About the ornamental patterns and details of the building Tschudi-Madsen writes that they are perfect samples of Bull’s designs. The author suggests that Bull’s personal talent, enthusiasm as well as the inspiration received from the artefacts in the collection of the museum might have helped him to create such magnificent ornamental items in the decoration of the Historical Museum.⁵³

The most complete descriptions of the ornamentation of the Historical Museum are given by Thora Margrethe Holmen in the article “Henrik Bulls Historisk Museum (1897–1902)”

(1972); and Dag Myklebust in the article “Historisk museums bygning – smykket rundt juvelene” (2004).⁵⁴ The main question raised in the article by Holmen, is to what extent Bull can be considered the author of the museum building, taking into consideration the fact that Bull began his work over the building from an already approved project by K. A. Henriksen.

Holmen analyses all the major and slight changes Bull added to the building and gives a particular attention to its ornamentation. She points to the possible sources of inspiration of the architect. For example, the motifs for the balustrade of the staircase might have been inspired, according to Holmen, by the Jelling or the Vendel styles.⁵⁵ The author concludes with very important comments partly concerning the method of Bull’s work: Bull did not copy the historical styles but rather received inspiration from the ancient national art.⁵⁶ According to Holmen, Henriksen’s drawings represent an example of a style-copying historicism; while Bull’s work is Art Nouveau, in which one can no longer speak about copying of specific historical styles.⁵⁷ I consider that this observation is very close to my interpretation of Bull’s method, defined in the master thesis as decorative stylization.

51 Tschudi-Madsen, Henrik Bull, 61.

54 Thora Margrethe Holmen, “Henrik Bulls Historisk Museum (1897–1902),” St. Hallvard, Oslo, (1972): 269–

284; Dag Myklebust, “Historisk museums bygning – smykket rundt juvelene,” in Kulturhistorier i sentrum:

Historisk museum 100 år, red. Jostein Bergstøl, Arne Aleksej Perminow, Ann Christine Eek (Oslo:

Kulturhistorisk museum, Oslo Universitetet, 2004), 9–35.

55 Holmen, “Henrik Bulls Historisk Museum (1897–1902),” 280.

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Several articles about Norwegian Art Nouveau were published by Dag Myklebust in which Bull is represented as the leading architect of this stylistic movement.⁵⁸ In the research work on the Historical Museum Myklebust has a particular interest in Bull’s symbolical use of ornamentation: its connection with the ancient national motifs and even a direct connection between the ornamental patterns in the Historical Museum and the objects exhibited in it, or found in the catalogues or publications of the time.⁵⁹ In the article “Historisk museums bygning – smykket rundt juvelene” Myklebust gives a detailed analysis of the museum’s ornamentation and names several of its hypothetical sources of inspiration taken from migration, Viking and medieval periods of the local history.⁶⁰ He points out to specific references to the national motifs in the Coin cabinet: stave church portals in the plaster decoration over the door, a shield in the ornamental panel on the door.⁶¹ Among the hypothetical sources of Bull’s inspiration Myklebust mentions Norske Oldsager by Oluf Rygh, as well as names specific artefacts.⁶² Writing about the impulses Bull received from Europe, Myklebust, specifies that they come, first of all, from Vienna Secession architecture, and its chief representatives such as Josef Maria Olbrich, as well as from Otto Wagner.⁶³ Bull’s reference to the Austrian variant of Art Nouveau is pointed out in the recent

publication by Bjørn Vidar Johansen “Historisk museum – praktverk i jugendstil” (2011). In the description of the interior ornamentation, the author points out to Bull’s inspiration of stave church portals, Viking shields and jewelleries from the migration time.⁶⁴

The history of the research of the Historical Museum, and in particular its ornamentation, shows that practically all scholars indicate Bull’s reference to the historical motifs, but apart

58 Dag Myklebust, “Jugendstyle architecture in Norway” in Art Nouveau/ Jugendstil Architecture in Europe, ed. Hans-Dieter Dyroff, 151–159; Dag Myklebust, “Art Nouveau architecture in Norway in perspective of its international relations” in Architecture 1900: in a new light, ed. Annelie Kurttila (Stockholm: Arkitektur Museet, 2005), 32–47; Dag Myklebust, “Jugendstilarkitektur i Norge,” Årbok: Foreningen til norske Fortidsminnesmerkers Bevaring, no. 159 (2005): 71–79.

59 Myklebust, “Historisk museums bygning – smykket rundt juvelene,” 18, 32.

60 Myklebust, “Historisk museums bygning – smykket rundt juvelene,” 22–32.

61 Myklebust, “Historisk Museums bygning – smykket rundt juvelene,” 32.

64Bjørn Vidar Johansen, “Historisk museet – praktverk i jugendstil,” in Byen og Blindern: Universitetet i Oslo 200 år. Utstilling: Nasjonalmuseet – Arkitektur 16.09.2011–21.01.2012, red. Nina Berre (Oslo: Nasjonalmuseet for kunst, arkitektur og design Statsbygg Universitetet i Oslo, 2011), 49.

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from pointing to the similarity between the historical styles and Bull’s ornamental patterns, do not make further research on this. In my master thesis I would like to investigate further the idea of the “fascinating connection” between the ornamentation of the building and its collection expressed by Myklebust; however, with a special attention not to what motifs Bull might have been inspired of, but rather how he created new patterns based on the historical motifs.

1.4 Definitions of the terms and concepts

There exists no generally accepted terminology of the methods and principles of stylization.

In this master thesis I use the general scheme of the principles of stylization offered by Vlasov. Analysing the selected ornamental patterns in the Historical Museum I worked out a number of definitions which I make use of. The scheme and the definitions of the principles of stylization do not claim to be the only correct interpretation of Bull’s work, but merely serve as tools in my attempt to reveal Bull’s method of working with the ancient Nordic motifs.

Transformation – the act of modification of the form which is achieved through application of different methods and principles. Transformation is any act over the given form and natural or historic motif, which makes the representation different from the given form or motif.

Abstraction – the general method in stylization which implies the process of the

transformation of the motifs into different levels of abstraction. As a rule in the decorative stylizations and in the stylizations of Art Nouveau, in particular, the artist moves in one direction: from a naturalistic image of the prototype to a stylized one by applying different levels of abstraction: from slight changes of the motif towards generalization and abstraction, to complete level of abstraction where the naturalistic representation or historical motif is totally transformed into an abstract form.

The levels of abstraction can be achieved through applying different “technical” principles such as:

Geometrization – transformation of the prototype into geometrical forms: straight parallel lines, squares, circles, etc.

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Free modelling of a line, or stylization of a line in its narrow meaning – such a

transformation of the line which gives it a certain decorative effect. In each case it can be a unique variant, but, referring to Art Nouveau, one can speak of a number of characteristic features of the so-called Art Nouveau line: long, extended, curved, sinuous, organic; one of the most frequently used in the shaping of windows and doors – the omega-shaped line. In the work I will use the term “free modelling of a line” to avoid ambiguity of the terms.

Free modelling of an element – analogous to the free modelling of a line, but in this case we speak about transformation of the forms into characteristic Art Nouveau forms with such features as exaggeration of the forms, distortion of the proportions – making them longer or wider, than the form in naturalistic representation.

Hyperbole – one of the variants of the free modelling of an element which presupposes the use of exaggeration of the forms in certain elements as a deliberate means for achieving the effect of expressiveness.

Quotation of an element – use of the prototype in its original form and its placement into a new context without any transformation or application of the principles of stylization to it.

Quotation as a single method does not represent a method used in decorative stylizations, however, it can be used in combinations with other methods and principles.

Quotation of the compositional principle – use of a similar compositional principle as in the prototype.

Fragmentation – a variant of quotation which implies the use of a part of the prototype which in a new context represents the whole image of the prototype.

Associative connection – a principle of decorative generalization, which creates association with a certain motif/prototype, but does not imply any direct reference to it. The artist might deliberately create associative connections: he presupposes that his stylized element implies indirect references to the prototype through the association which the viewer receives.

Three-dimensional modelling of the element – principle of stylization in which a pattern is represented not flatly within its architectonic frames but three-dimensionally or with inclusion of three-dimensional elements.

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Combinatory principles – a combination of several principles applied in a stylization of a particular motif.

Object of stylization – a historical motif or an artefact which the architect uses as a prototype, a model for his stylization.

Transitional and final variants of the stylization. In the stylization interpreted as a process of the developing the form from a prototype, the transitional variant represents one of the stages in the development of the final form. In the master thesis the transitional variants are

represented either by the similar patterns from the earlier projects or by unrealised drawings.

The final variants for the master thesis are the analysed patterns in the Historical Museum.

Integrated stylization presupposes a unity of the stylized forms of the details within the whole building. The integrity can be achieved through the interaction of the details with the structure of the building and their assimilation.

2. Henrik Bull – architect and stylizer

Henrik Bull (1864–1954) was son of Georg Andreas Bull, City Architect of Christiania. Bull began his professional education at the State College of Handicraft and Applied Art in Oslo in 1883–84.⁶⁵ In 1884–86 he studied architecture at the Royal High Technical School at Charlottenburg (later Berlin). At the same time he worked as an assistant of Professor Julius Raschdorff, one of the best known architects of Germany of the second part of the 19^th century, who also was the architect of the Berlin Cathedral. In 1888 Bull returned to

Germany, this time to specialise in brick architecture: on the recommendation of Raschdorff, he entered the Academy of Arts in Berlin and studied at the workshop of Johannes Otzen.⁶⁶ Still being a student Bull received 1^st prize in the competition for St. Paul Church in Christiania (Fig. 1), which was built in 1888–1892 in a neo-gothic style with an obvious

65 Henrik Bull, Application for study travel (Søknad om reisestipend), 27 April 1891, Riksantikvaren Archive.

66 Henrik Bull, Application for study travel, Riksantikvaren Archive.

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influence from German architecture of the time, namely St. Gertrude Church by Otzen, Hamburg (1882–1885)⁶⁷ (Fig. 2).

Having returned home, Bull as his father was engaged in surveying and measuring stave churches. He started this assignment as part of Dietrichson’s work De norske stavkirker.⁶⁸ Up until his later career of 1940s Bull periodically returned to the measuring stave churches which he carried out for the Society for Preservation of Norwegian Ancient Monuments (Fortidsminnesmerkers Foreningen).⁶⁹

In 1888 Bull started his private practice as an architect in Christiania.⁷⁰ In 1890–1893 Uvdal New church was built according to Bull’s design in a so-called “dragon style” (Fig. 3). Out of the innumerable works and unrealised projects of Bull, researches single out his three main works: the National Theatre (1891–99), in the ornamentation of which, according to Myklebust, already appeared distinctive Art Nouveau traits;⁷¹ the Historical Museum (1897–

1902), the Old Government Building (1899–1906).

In the period between 1898 and 1906 Bull realised several other architectural works, with obvious fusion of Art Nouveau traits and ancient Nordic motifs in ornamentation. I would like to include in the master thesis a chronological outline of a selection of his works from this period. I choose those works which illustrate well Bull’s method of working with the national motifs. This material will help me later in the analysis of the ornamentation in the Historical Museum, which to a large extent will be built on the comparison with Bull’s earlier and later projects.

The stylistic traits of the European variants of Art Nouveau are obvious in Bull’s projects

67 Stephan Tschudi-Madsen, Henrik Bull, 18.

68 Lorentz Dietrichson, De norske stavkirker, as well as Lorentz Dietrichson, Holm Munthe, Die Holzbaukunst Norwegens in Vergangenheit und Gegenwart (Berlin: Schuster & Bufleb, 1893) have drawings of stave churches by H. Bull.

69 Julius Malling, “Bull, Henrik, arkitekt,” in Norsk kunstnerleksikon: bildende kunstnere, arkitekter,

kunsthåndverkere, red. Østby Leif (Oslo: Universitetsforlaget, 1982), 1:352. Hegge stave church was measured by H. Bull in 1910–1911, Borgund in 1939, Kaupanger in 1940, Røldal in 1942, Gol in 1944 (Riksantikvaren register, Illustrations of the churches are published in Roar Hauglid’s Norske Stavkirker (Oslo: Dreyer, 1969).

71 Myklebust, “Jugendstyle architecture in Norway,” in Art Nouveau/Jugendstil Architecture in Europe, ed.

Dyroff, 152.

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from 1898. Tschudi-Madsen points out to Bull’s adaptation of French-inspired Art Nouveau and the German-Austrian Jugend and a skilful fusion of the European forms with national motifs.⁷² It is known that in connection with the work over the National Theatre Bull made short trips to Berlin (1896) and Vienna (1898).⁷³ Bull wrote himself: “personally for me it might have been the form it took in Austria which determined my view on the movement.”⁷⁴ In the architecture of Bull, and especially in decorative ornamentation of the Historical Museum and the Old Government building, one can find different European influences, but first of all, as the scholars agree, the influences of the Austrian Secession.⁷⁵ It is most probable that they were borrowed and integrated by Bull in his designs after his trip to Vienna. He might have become familiar with the new tendencies in Viennese architecture through the contemporary periodicals.⁷⁶

The national motifs were used by Bull not only in architecture but also in furniture,

monuments, tomb stones, dishes. I consider it important to include in the survey one of the furniture sets designed by Bull – the furniture set of 1896, exhibited in Stockholm in 1897 and later at the Paris exhibition in 1900 where it was awarded a gold medal (Fig. 4).⁷⁷ As Tschudi-Madsen indicates, the scope of the decorative patterns in it demonstrates Bull’s thorough knowledge of the wood carving used in stave churches as well as his own imagination (Fig. 5).⁷⁸ About the method of Bull’s work Tschudi-Madsen underlines that Bull managed to integrate ancient motifs so that they preserve their medieval character.⁷⁹ The ornamental patterns in the furniture set represent an important material which will be used in the analysis and identification of the motifs in the Historical Museum.

In 1898–1902 Åmot church in Rena, Østerdalen, was built (Figs. 6, 7). In my opinion, it demonstrates the first tentative attempt of inclusion of Art Nouveau stylistic features as well

73 Lifoss, Henrik Bulls formgivning av lysarmatur, 34.

74 Henrik Bull in a private letter to Tschudi-Madsen, 1952; quoted in Tschudi-Madsen, Henrik Bull,19.

Translated from Norwegian by the author. All following quotations in Norwegian are translated into English by the author.

75 Tschudi-Madsen, Myklebust, Johansen, cf. footnotes 52 p. 18; 63 p. 19; 64 p. 19.

76 The proposals for the Secession exhibition pavilion were published in Der Architekt in 1898, 1899; the photographs of Karlsplatz station pavilion – in 1900. Der Architekt, Wiener Monatshefte fur Bauwesen und Decorative Kunst, 1898–1900, Austrian National Library, ANNO, www.http://anno.onb.ac.at/, 30 May 2011.

Henrik Bull

Henrik Bull

Application of the ancient Nordic motifs in the ornamentation of the Historical Museum and their stylization according to

Art Nouveau principles

Natalia Evseeva

Master Thesis in History of Art Tutor: Lena Liepe

Department of Philosophy, Classics, History of Art and Ideas Faculty of Humanities

UNIVERSITY OF OSLO

Autumn, 2011

Summary

Table of Contents

Forword

1. Introduction

1.1 The concept “stylization” and its use in Western and Russian scholarship

1.2 The analytic procedure

1.3 Sources and literature

1.4 Definitions of the terms and concepts

2. Henrik Bull – architect and stylizer